The foundation of the Benedictine abbey Caunes-Minervois was the work of Aniane, Saint Benoît d'Aniane's friend, at the end of the 8th century. Originally under the direct protection of the King of France, the monastery later passed into the hands of the Count of Barcelona, before ending up as a possession of the Trencavel family who decided to renounce their rights in 1195.
During the Crusade against the Albigensians, several times, the Abbot of Caunes welcomed the Pope's representatives who came to preach the Catholic orthodoxy. In 1227, Pierre Isarn, the Cathar bishop of the Carcasses area was burned at the stake at Caunes.
The 13th and 14th centuries were marked by power struggles between secular and religious authorities, and by prosperity for the monastery whose members increased from about fifteen to about thirty.
The establishment, in 1467, of a commendam whereby a manager took over the running of the abbey, signalled the beginning of the decline of monastic values at Caunes. It was only at the beginning of the 17th century that a series of reforms was instigated by the Abbot Jean d'Alibert. In particular, he restored the buildings and re-built the abbey's residence. Then, the congregation of Saint-Maur took possession of the abbey in 1663 and rebuilt the moastic buildings. The abbey became state property in 1791, with the exception of the church which became property of the municipality.References:
Monastery of São Vicente de Fora (Monastery of St. Vincent Outside the Walls) is a 17th-century church and monastery in the city of Lisbon. It is one of the most important monasteries and mannerist buildings in the country. The monastery also contains the royal pantheon of the Braganza monarchs of Portugal.
The original Monastery of São Vicente de Fora was founded around 1147 by the first Portuguese King, Afonso Henriques, for the Augustinian Order. The Monastery, built in Romanesque style outside the city walls, was one of the most important monastic foundations in mediaeval Portugal. It is dedicated to Saint Vincent of Saragossa, patron saint of Lisbon, whose relics were brought from the Algarve to Lisbon in the 12th century.
The present buildings are the result of a reconstruction ordered by King Philip II of Spain, who had become King of Portugal (as Philip I) after a succession crisis in 1580. The church of the monastery was built between 1582 and 1629, while other monastery buildings were finished only in the 18th century. The author of the design of the church is thought to be the Italian Jesuit Filippo Terzi and/or the Spaniard Juan de Herrera. The plans were followed and modified by Leonardo Turriano, Baltazar Álvares, Pedro Nunes Tinoco and João Nunes Tinoco.
The church of the Monastery has a majestic, austere façade that follows the later Renaissance style known as Mannerism. The façade, attributed to Baltazar Álvares, has several niches with statues of saints and is flanked by two towers (a model that would become widespread in Portugal). The lower part of the façade has three arches that lead to the galilee (entrance hall). The floorplan of the church reveals a Latin cross building with a one-aisled nave with lateral chapels. The church is covered by barrel vaulting and has a huge dome over the crossing. The general design of the church interior follows that of the prototypic church of Il Gesù, in Rome.
The beautiful main altarpiece is a Baroque work of the 18th century by one of the best Portuguese sculptors, Joaquim Machado de Castro. The altarpiece has the shape of a baldachin and is decorated with a large number of statues. The church also boasts several fine altarpieces in the lateral chapels.
The Monastery buildings are reached through a magnificent baroque portal, located beside the church façade. Inside, the entrance is decorated with blue-white 18th century tiles that tell the history of the Monastery, including scenes of the Siege of Lisbon in 1147. The ceiling of the room has an illusionistic painting executed in 1710 by the Italian Vincenzo Baccarelli. The sacristy of the Monastery is exuberantly decorated with polychromed marble and painting. The cloisters are also notable for the 18th century tiles that recount fables of La Fontaine, among other themes.
In 1834, after the religious orders were dissolved in Portugal, the monastery was transformed into a palace for the archbishops of Lisbon. Some decades later, King Ferdinand II transformed the monks' old refectory into a pantheon for the kings of the House of Braganza. Their tombs were transferred from the main chapel to this room.